APRIL-JUNE TERM, WEEK 5-6

I guess I really should finish recapping on week 4 before posting stuff from week 6 but  I wanted to get this up for anyone wanting to  fishing off the exercise.

I'll add some text later, for those who missed last night's class. Those who were there will only need the pics.

Before making a start on a final drawing , I like to have a quick warm up session of sketching to get a feel for the subject matter.

Below are the stages to help you sketch out the pose and composition

Step#1

I know some of you find using  breakdown shapes of spheres and cylinders helpful when constructing a figure ( so, continue to do so if it is working for you) but I  tend to approach a figure by feeling mt way around the shape with the pencil, loosely skeching the flow and dynamic of the pose. Notice how the sketch is  mostly made up of curves and swirls. 

When drawing the wings, it is always useful to have a point of reference if you cannot  imagin it clearly in your head.  A bats wings make a good point of reference.

If you notice how the bat's wings are actually an arm and fingers just like a human's , only with longer fingers, and that the limbs bend  in the same way, you are on your way to having an understanding  of what you are drawing. Having an understanding of what you are drawing enables you to produce a better drawing.

Step#2

Once I am reasonably hapy with the shape, composition, etc. I begin sketchig in the detail. At this stage you should stil be sketching very lightly, not applying too much pressure with your pencil, image shown here has been darkened so you can see clearly the develpment of the drawing. Keeping your prelinimary pencil work light enables you to adjust your drawing easily.

 From this point onwards the breakdowns are for producing the drawing in ink , pencil or marker etc on white paper. I quickly, and crudely, threw some  tone on in photoshop to demonstrate how I would create the lighting.

 I also produced a version of the sketch in  white pencil on black paper.

Remember what was discussed in class about working on black paper,  instead of applying the darker values of your drawing (because they already exist on the paper) you are applying only the lighter values and highlights that would  normally  be available on white paper. So, you are basically working in reverse.

WIP FOR TONIGHT'S CLASS

some stuff I am working on for tonight's class

APRIL-JUNE TERM, WEEK1-4 (PART 3)

During week 3 and 4 , we discussed  layout, lighting and composition.For those who missed it and for those who want a recap, I will go through the main points again and also add links to sites I think will be helpful.

When considering the layout of a drawing or sketch it is sometimes helpful to divide the page up into quarters or thirds, using faint lines

 This can help the artist determine the  overall ballance of the content and light and dark.
Using the grid method is also related to the "Rule Of Odds" I have mentioned a few times in class. More about the Rule Of Odds below. If I apply a grid to anything, I do not strictly follow the Rule Of Odds  but use it as a quick way of determining the ballance of  content.

 I have applied this method to two images below The first being Frank Frazetta's iconic Conan painting and a comic book cover by Tom Sutton. Notice how they fit the grid and how the main content also forms a triangular shape. The triagular shape when applied to composition is referred to as the "golden triangle"

Conan by Frank Frazetta

Ghostly Tales cover by Tom Sutton

The, Rule Of Odds (also known as  The Rule Of Thirds), is a method of composition that enables an illustrator or  photographer to compose an image that is visually dynamic and  pleasing to the eye.
Compositions using an odd umber of elements  often make for  a more dynamic images. The Rule Of Odds is used in advertising as a selling tool. Generally we are more stimulated by odd numbers of  things as opposed to even numbers.
There are many variations and examples of layout relating to this rule but as I did not invent this rule (I was taught it when I worked in advertsing) rather than compile a lengthy blog explaining it in depth, I thought I would include some links to sites and blogs that I think explain it simpler that I probably would. which will leave me room for more content relating to the past weeks work.

ART COMPOSITION RULES

http://painting.about.com/od/composition/ss/art-composition-rules.htm

http://painting.about.com/od/composition/ss/art-composition-rules_2.htm

http://painting.about.com/od/composition/ss/art-composition-rules_3.htm

THE SECRET OF GOOD COMPOSITION

http://willkempartschool.com/the-secret-of-good-composition/

and this one

http://mhsart1.wikispaces.com/Composition



Notice how the Poseidon sketch drawn in class falls within the grid

 I will post a rough breakdown of this sketch sometime this week.

Here are some other examples of how the Rule Of Odds has produced  some memorable art.

 Mike Mignola - Creepy. 
Also notice the separation of black and white, just a simple cloud of mist in the background frames the trio and makes them clearly visible and the main point of interest.

 Frank Frazetta
Notice the girl in the center is the talest element, which , flanked by  the caps either side of her , creates the "golden triangle"

Another Frazetta composition but with an even number of elements. Frazetta uses the colour of  the panther and the chimpanzee and the poses to create a visual of one element. There are four elements but for an instant you only notice three shapes. Very clever.

Another by Frazetta. Here there are odd munbers, Five main elements (there are more smaller ones in the background but they are, basically, background)
Notice the shape and flow of the composition. Can you see it?
To be continued.....